"Con-vpilation" is Conv's thirty-third virtual release since going online in February 2004, and it is a milestone in the netlabel’s history for several reasons. As the title implies, this is Conv’s first compilation album. In being a compilation, it features an impressive roster of eleven international artists, representing both genders, each of whom has enriched the contemporary world of electronic/electro-acoustic/experimental/avant-garde music in her/his own distinct way. Also interesting is the fact that none of artists have released anything previously on Conv. The tracks themselves are noteworthy in that they span an eclectic set of styles many of which fall within the boundaries defined by the current Conv discography and others that find Conv exploring some new territory. Finally, because of the album’s artistic diversity and broad scope, “Con-vpilation” has something to offer both the enthusiast and novice listener alike, and is a must listen for anyone who wants to be conversant about non-traditional contemporary music.
For a first listen, find a place free of distractions and absorb the diverse sounds of “Con-vpilation“, (and, then, of course, be sure to share it with someone else). Immerse yourself in the braying soundscape of Coeval (actually a one-man-project by j.c.blancas) blend field recordings and digital errors into in a noisy cacophony. Enjoy the playful, sensual sounds of Jan Robbe aka Erratic and his friend Lina as they recreate a lighthearted evening of improvision using guitars and an out-dated synthesizer. Prepare yourself for Esther Venrooy’s unsettling piece as she juxtaposes digitally manipulated sounds and sonorous electronics with the odd-intonations found in the voice of science fiction author and Scientology leader L. Ron Hubbard. For something that goes beyond sad, Luca Bergero, otherwise known as Fhievel, takes you into a brooding composition of sorrowful tones and gritty abstraction and, to borrow from some verse provided by the artist, is “More than past melancholies, like a portrait with no colour.” On the more minimal acoustic side, Margarida Garcia, widely recognized for her double bass work, delivers a jazzy, but restrained, acoustic guitar-based improvision. For an electro-acoustic flavoring, Sabine Vogel’s delivers a lowercase blend of flute, electronics, and manipulated sounds which give way to a chaotic frenzy of dissonant noise. For a slice of powerful ambient drone, Tomas Korber treats the listener to a composition of deeply resonating guitar-based feedback lightly layered with orbiting microtones and frayed bits of noise. Vitor Joaquim offers a unique and poignant selection that he describes in his own words as being “about intimacy, misunderstanding, loss, and the pain that comes out of it; it’s about time that doesn’t go back; points of no return, and the need of voiding me to stay and go forward, simultaneously. It’s about contradiction and for sure, a very existential feeling. If I can say it, it’s a very me.” For those seeking something dark and raucous, Xabier Erkizia puts forth several minutes of varying degrees of abrasiveness where digitally shredded sounds mix with coarse, low-end noise. And for something refreshingly different, Rameses III presents a beautiful track of avant-garde folk in which soothing acoustic sounds are complemented with organic environmental recordings.
liner notes by Larry Johnson
This audio is part of the collection:Conv It also belongs to collection: